Journal of Religion & Film Volume 14 Issue 2 October 2010 Article 3 October 2010 Oblivion beyond Forgetting: A Buddhist Reflection on Suffering in Ashes of Time Heawon Choi Stanford University, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Choi, Heawon (2010) "Oblivion beyond Forgetting: A Buddhist Reflection on Suffering in Ashes of Time," Journal of Religion & Film: Vol. 14 : Iss. 2 , Article 3. Available at: https://digitalcommons.unomaha.edu/jrf/vol14/iss2/3 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Oblivion beyond Forgetting: A Buddhist Reflection on Suffering in Ashes of Time Abstract This paper reads Wong Kar-wai’s Ashes of Time (1994) through the lens of Buddhism, specifically focusing on the issue of suffering and of mind. Buddhism attributes suffering to mental attachment, expressed as craving and clinging. In this sense, Ashes of Time, which also reflects on the problems of anguish and suffering with respect to its characters’ unfulfilled desires and their attachment to memory, shares several fundamental ideas with Buddhist thought. More importantly, the film proposes ways to break free from suffering that are similar to those espoused by Buddhism. In doing so, the film eflectsr the Buddhist dialectic idea that insists on absolute negation as the way to be released from suffering, which eventually progresses to an absolute affirmation; that is, embracing suffering in a paradoxical sense. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol14/iss2/3 Choi: Oblivion beyond Forgetting Wong Kar-wai believes that human beings suffer because of memory, which is ironic because memory is generally supposed to be a blessed ability that people are afraid to lose. Hong Kong-based filmmaker Wong is a director who has persistently explored similar themes throughout his work. Most of his films focus on time and memory and on solitude and anguish as the results of lost time. Ashes of Time (Chinese title: Dongxie Xidu; 1994), which is based on Louis Cha’s Chinese martial-art novel series The Eagle Shooting Heroes, addresses such themes. It describes the solitariness and alienation of people who are obsessed with the scars of memory. The film reflects Wong’s revolutionary modification of the traditional Chinese martial-art story into a meditative and philosophical narrative that has a gloomy and melancholic tonality. In the film the heroic figures who typically appear in traditional martial art films are replaced by wounded and isolated beings whose lives are ruined by their memories. Film critics like Stephen Teo and Wimal Dissanayake note general Buddhist elements in Ashes of Time, but the film reflects fundamental Buddhist ideas and perspectives in a much more profound sense than those critics observe.1 One of the film’s crucial connections to Buddhist ideas is the notion of human suffering. Buddhism is a religion and a philosophy that tenaciously delves into the problem of suffering; its tenets begin with the realization of suffering and end with proposing solutions to it. Buddhism concludes that craving and clinging Published by DigitalCommons@UNO, 2010 1 Journal of Religion & Film, Vol. 14 [2010], Iss. 2, Art. 3 derived from deluded thoughts cause suffering. Likewise, Ashes of Time not only reflects deeply on the problems of desire and attachment, but also proposes ways to free oneself from suffering, which is similar to Buddhism. Given this potential for dialogue between Ashes of Time and Buddhist ideas, this paper reads and interprets the film through the lens of Buddhism. The story is set in a desolate desert in ancient China. The protagonist, Ouyang Feng, runs a tavern in the middle of the desert, but is also working as an agent for killers. Ouyang was once an ambitious swordsman whose goal was to achieve fame in the martial arts world. However, the betrayal by his girlfriend, who decided to marry Ouyang’s elder brother, made him abandon his goal. He retreated to the desert and abandoned communal society. Every year Ouyang is visited by his friend Huang Yaoshi, who is portrayed as a lascivious but intelligent figure. Huang loves Ouyang’s ex-girlfriend (now Ouyang’s sister-in- law), and he visits Ouyang as an excuse for seeing her. Meanwhile, she wants to hear about Ouyang from Huang. Although she betrayed Ouyang, she is depicted as living an unhappy life because she misses Ouyang. Huang’s lustful mind creates two victims: Murong Yin/Yang and the Blind Swordsman. Murong loves Huang, but Huang’s rejection of her love has caused Murong to become a schizophrenic who suffers from two contradictory personalities and emotions: a female (Yin) versus a male (Yang) and love versus hatred toward Huang. The https://digitalcommons.unomaha.edu/jrf/vol14/iss2/3 2 Choi: Oblivion beyond Forgetting Blind Swordsman, who is growing blind, was originally Huang’s close friend. However, his wife betrayed him by having an affair with Huang, which led the swordsman to leave his home and become a wandering warrior, obsessed with a tragic memory. Ouyang, his ex-girlfriend, Murong and the Blind Swordsman represent mentally or emotionally wounded beings preoccupied with and overwhelmed by tragic memories about their unfulfilled and unsatisfied cravings for love. The film visualizes the mental/emotional states of these characters through images of an empty desert and waving water, which in a sense involve contrasting implications; while the former implies the static or stillness, the latter implies the mutable or movement. These two images appear repeatedly throughout the film, yet often without any reference to the context. As Wong in an interview states, a desert, which is also the background location where the story of the film unfolds, symbolizes the emotional state of those characters, i.e., the sense of solitariness and isolation.2 The desolate emotional states of the characters, as symbolized by a desert, are also connected to their inertial, aimless or even dreamlike appearances; as Teo points out, there are many scenes in the film which depict the characters gazing in to the distance, doing nothing.3 In a fundamental sense, Ashes of Time also attempts to represent their inner state of mind which is, by contrast to their outward appearance, in fact disturbed and agitated. In this context, the film Published by DigitalCommons@UNO, 2010 3 Journal of Religion & Film, Vol. 14 [2010], Iss. 2, Art. 3 employs the image of the undulating sea (or waving water) as symbolizing such characters’ agitated and disturbed minds. The waving water image as a reference to the state of mind implies the Buddhist view that suffering is intrinsically grounded in the problems of the mind. This idea is explicitly revealed in the opening scene of the film, which begins with a famous Zen Buddhist saying, showing an image of an undulating sea. The saying declares: “It is written in the Buddhist Canon: The flags are still, no wind blows. It’s the heart [mind] of man that is in tumult.”4 The canon originally appeared in the Platform Sutra (Liuzu tanjing), which records the sayings of the Sixth Patriarch of Zen lineage, Huineng (638-713). The flag analogy in the text conveys the Buddhist view that understands the phenomenal world as constructed by mind; that is, what is considered to be mutable in the phenomenal world is actually the result of mental functions that see the object to be mutable as the mind is moving.5 In the story, a moving mind refers to a distracted and deluded mind that cannot see things as they really are. More importantly, Huineng suggests that mind is originally pure and tranquil. In this regard, Buddhism compares the mind to the water of the sea; whereas a calm and glassy ocean corresponds to the original mind, waves caused by wind stand for a disturbed or moving mind. This metaphor is observed in the Treatise on the Awakening of Faith in the Mahayana (Dasheng qixin lun), an https://digitalcommons.unomaha.edu/jrf/vol14/iss2/3 4 Choi: Oblivion beyond Forgetting important Mahayana Buddhist text in East Asia. The text says that movement (wave) is not the nature of water and the wet nature of water remains despite the influence of wind; that is, if the wind stops, the movement also stops. It goes on to say that tranquil and waving waters were originally not separable; they are intrinsically the same because both have wet natures and thus are of “one mind.”6 As such, the opening scene of Ashes of Time reflects, in a significant sense, the Buddhist understanding of mind and further of suffering that results from the function of mind. In effect, the same seawater image as used in the background of Huineng’s flag analogy reappears several times throughout the film, visually intimating the state of the characters’ agitated and disturbed minds. In the film, the characters’ anguish is grounded on their unfulfilled and unsatisfied craving for an object of love: Murong’s desire for Huang, his desire for Ouyang’s ex-girlfriend, her desire for Ouyang (and vice versa) and the Blind Swordsman’s desire for his wife. As in Wong’s other films, the characters’ desires always end in failure, and at the end they are left lonely and single. As Buddhists claim that craving inevitably leads to clinging/attachment to objects of desire, which finally ends in suffering, Ashes of Time reaffirms such a Buddhist claim by highlighting the issue of craving and attachment through its complex narrative structure and further by ultimately understanding them as the sources of the characters’ anguish.